Version: Intro: ??? live 2007.10.13

Version: Intro: ??? live 2007.10.11

Additional Info: From Zeitgeist track by track interview:
“It started off as this weird little shuffle thing. We were arguing back and forth in November of ‘05 whether we should have a shuffle on the record. Billy wanted a shuffle. So it became a search for a new way to do a shuffle. We were also listening to Fela, all these 14-minute Nigerian jams and watching documentaries about him. So we went down this road of seeing how power can come from repetition.” Jimmy Chamberlin
“In Pumpkins logic, if you’re going to make people wait for six minutes for the payoff, the money shot better be good. Ultimately, this became the musical statement of the album. The drum take is one of Jimmy’s crowning achievements. It’s worth the price of admission. Lyrically, the song reflects the decision I made when we were in Scottsdale to stop watching all network or cable news. I noticed the effect that had on me–I stopped being afraid. In general, I’m not afraid of getting on the stage in front of 60,000 people, so why should I be afraid of a plane crashing into my house? I was trying to wrap my head around the way we’re being force-fed a level of paranoia. It’s a personal reflection on what it all means. The ‘revolution’ in the lyrics isn’t the revolution of picking up a gun. That’s never worked, and it never will work. Jesus was right.” Billy Corgan

The world is a vampire, sent to drain
Secret destroyers, hold you up to the flames
And what do I get, for my pain
Betrayed desires, and a piece of the game
Even though I know-i suppose I’ll show
All my cool and cold-like old job
Despite all my rage I am still just a rat in a cage
Then someone will say what is lost can never be saved
Despite all my rage I am still just a rat in a cage
Now I’m naked, nothing but an animal
But can you fake it, for just one more show
And what do you want, I want to change
And what have you got
When you feel the same
Even though I know-i suppose I’ll show
All my cool and cold-like old job
Despite all my rage I am still just a rat in a cage
Then someone will say what is lost can never be saved
Despite all my rage I am still just a rat in a cage
Tell me I’m the only one
Tell me there’s no other one
Jesus was an only son
Tell me I’m the chosen one
Jesus was an only son for you
Despite all my rage I am still just a rat in a cage
And I still believe that I cannot be saved

Faith lies in
The ways of sin
I chased the charmed
But I don’t want them anymore
And in their eyes I was alive
A fool’s disguise
Take me away from you
Shame my tongue
Fat with promise all along
But when I woke up from that sleep
I was happier than I’d ever been
When you decide
That your life is a prize
Renew and revive
It’s alright honey
It’s alright, yeah
Happiness will make you wonder
Will I feel OK?
It scares the disenchanted
Far away
Yeah I want something new
But what am I supposed to do about you
Yeah I love you, it’s true
Life’s a bummer
When you’re a hummer
Life’s a drag
Ask yourself a question
Anyone but me
I ain’t free
Ask yourself a question
Anyone but me
I ain’t free
Do you feel
Love is real?

“This was one of the songs we had earmarked for Roy Thomas Baker to produce. As we later told Roy, we had heard all these stories about him being completely insane which turned out not to be true. He’s one of the most hard-working, aware and brilliant people we’ve ever worked with and we couldn’t wait to hear what he did with that song.” Billy Corgan

“For me that track is all about Roy–the way he produced, that drum sound. Roy doesn’t produce songs; he produces moments. We were constantly trying our best to put a smile on Roy’s face.” Jimmy Chamberlin

Shot down I stood
Withstood my neighborhood
I got it wrong
But I could
Follow love lest I learn
It’s light
To bring the light
I fought with all my might, with light
Oh bring the light
Light, bring the light
I never felt so good and right
But tonight you’ll never need another sound
Oh, bring the light
Bring the light to me
Here and gone oh I trust
You’d spit upon my dust
And mix my ash with your blood
A son of god you know you must arrive
In the light
Bring the light, let’s bring the light
Light, oh bring the light
Light, bring the light
It’s yours not mine
If you just want to survive
Go grab a glimpse of any star in heaven’s high
I never felt so real and loved and alive
No shadows follow me unsung
In the light, bring the light to me
A flower song, clear and bright
Is it wrong, in neon white?
To insist you are mine
Standing dumb in the light
Bring the light
Oh, bring the light
Bring the light!
Light, bring the light
I never felt so real and right and alive
Don’t let them steal from you what’s yours by right
Light, bring the light
You know there comes a place and time
You can’t deny
With every movement shadows cast and align
Bring the light, bring the light
Bring the light let’s bring the light
Light, bring the light

We’ll wander off through the dead of night
Past wastelands of shattered souls
Warm by my firelight
I peer into the darkness alone
As the Indian Summer of my remembrance
Settles on my bones
Cracked and weary, I ask for direction home
Home, let the word spill from my mouth
Love, love is everything I want
I’m one of many more to come
Love, love is everything I want
Crossroads outside of town
The heartbroken faces shine
The city lights so far and dull
Turning left I know it’s time
With an urgent wind upon my rolling heals
To carry me along
My face downcast, I turn to ruins past and home
Home, let the word spill from my mouth
Love, love is everything I want
I’m one of many more to come
Love, love is everything I want
We’ll wander off through the dead of night
Past terrors and broken homes
Wipe the sleep from under your eyes
Of riverbanks and catacombs
Sleep into the bee and the sea
I was to live this life alone
Lay down Caligula
Cry out, I know it’s time
Love is everything I want
Love is everything I want
Love is everything I want
Love is everything I want

Additional Info: From Zeitgeist track by track interview:
“That’s a sexy song made by two men living in a house alone together for four or five months in Scottsdale. There needed to be some sexiness somewhere.” Jimmy Chamberlin
“That song was another one that I brought to Arizona with me. And right away it sounded like ‘95 Pumpkins, like it could have been right off of the Mellon Collie record. I feel sorry for Jimmy because he has to hear me complain about such things. And we went back to what Flood taught us and tried the song some other ways. One day we just changed the beat, and it just made the song.” Billy Corgan

Additional Info: From Zeitgeist track by track interview:
“Billy bought this guitar from this guy from Paris (James Trussart) who makes steel guitars and he brought a couple examples of his work to our rehearsal space. Billy grabbed one and plugged in into his amp and immediately started playing the riff from ‘Tarantula’ and the song was written pretty much on the spot.” Jimmy Chamberlin
“That’s our nod to the Scorpions, and UFO--a loving nod to the hard rock bands of that era.” Billy Corgan

“I had this mellow guitar riff that was very simple--almost a ballad-- and we kept messing around with it. And one day, we thought, ‘What if we played it really loud.’ And that was it. Suddenly it transformed into this beastly thing.” Billy Corgan

“We’ve learned a lot of lessons over the years about not taking songs at face value when they emerge. I think that’s something Flood taught us along the way. ‘Doomsday Clock’ started off almost a folk calypso number and it turned into this . . . Apocalypso. We’re believers that a good song is a good song whether it’s played on an electric guitar or a zither.” Jimmy Chamberlin

Is everyone afraid?
Is everyone ashamed?
They’re running towards their holes, to find out
Apocalyptic means are lost among our dead
A message to our friends to get out
There’s wages on this fear
Oh so clear
Depends on what you’ll pay to hear
They’re bound to kill us all
In whitewashed halls
Their jackals lick their paws
Please don’t stop
It’s lonely at the top
These lonely days
When will they ever stop?
This doomsday clock ticking in my heart
Not broken
I love life every day
In each and every way
Kafka would be proud, to find out
I’m certain of the end
It’s the means that has me spooked
It takes an unknown truth to get out
I’m guessing I’m born free, silly me
I was meant to beg from my knees
Please don’t stop
It’s lonely at the top
These lonely days
When will they ever stop?
This doomsday clock ticking in my heart
These lonely days when will they ever stop?
We gotta dig in, gas masks on
Wait in the sunshine, all bug-eyed
If this is living?
Sakes alive!
Well then they can’t win
No one survives
Is everyone afraid?
You should be ashamed
Apocalyptic screams
Mean nothing to the dead
Kissing that ‘ol sun
To know all there is
Come on, last call
You should want it all
Ah, it’s lonely at the top
These lonely days
When will they ever stop
This doomsday clock ticking in my heart
These lonely days
When will they ever stop
This ticking in my heart
Is everyone afraid?

Additional Info: This version of Heavy Metal Machine contains pieces of the Jefferson Airplane song White Rabbit and is ended with Canned Heat - On The Road Again and an end jam with Joan Jett's "I Love Rock 'n' Roll".

Today is the greatest
Day I’ve ever known
Can’t live for tomorrow,
Tomorrow’s much too long
I’ll burn my eyes out
Before I get out
I wanted more
Than life could ever grant me
Bored by the chore
Of saving face
Today is the greatest
Day I’ve ever known
Can’t wait for tomorrow
I might not have that long
I’ll tear my heart out
Before I get out
Pink ribbon scars
That never forget
I tried so hard
To cleanse these regrets
My angel wings
Were bruised and restrained
My belly stings
Today is
Today is
Today is
The greatest day
I want to turn you on
I want to turn you on
I want to turn you on
I want to turn you
Today is the greatest
Today is the greatest day
Today is the greatest day
That I have ever really known

Shakedown 1979
Cool kids never have the time
On a live wire
Right up off the street
You and I should meet
Junebug skipping like a stone
With the headlights pointed at the dawn
We were sure we’d never see an end to it all
And I don’t even care
To shake these zipper blues
And we don’t know
Just where our bones will rest
To dust I guess
Forgotten and absorbed
Into the earth below
Double cross the vacant and the bored
They’re not sure just what we have in store
Morphine city slippin’ dues
Down to see
That we don’t even care
As restless as we are
We feel the pull
In the land of a thousand guilts
And poured cement
Lamented and assured
To the lights and towns below
Faster than the speed of sound
Faster than we thought we’d go
Beneath the sound of hope
Justine never knew the rules
Hung down with the freaks and the ghouls
No apologies ever need be made
I know you better than you fake it
To see that we don’t even care
To shake these zipper blues
And we don’t know
Just where our bones will rest
To dust I guess
Forgotten and absorbed
Into the earth below
The street heats the urgency of now (written: sound)
As you can see there’s no one around